Nicole Scherzinger to star in West End Sunset Boulevard at the Savoy — Page 15

QueenAlice said: "I do think people are over emphaziing the commercial importance of the Sarah Brightman revival, which is essentally a limited season production produced by an opera company in Australia. It is highly unlikely to have any kind of commercial transfer. Opera productions are not designed for the economics of Broadway."



I just want to jump in here and clarify something, hopefully not taking anything away from the substance of the thread. Opera Australia's productions of musical theatre have ranged from tangible observations of what is typically observed as opera to straight replicas of productions that exists all over the world today. Opera Australia was the partner in Australia for the restaged Cam Mac/Connor production of Phantom, which was a replica of the version that toured the U.K., U.S., and now shipped and transferred to Vienna. The same is happening right now with Miss Saigon. It's just the re-imagined Cam Mac/Connor version. Some of the dancers, a speckle of the leads and alternates may come from the opera company, though the vast majority of the company is made up of musical theatre performers, played as musical theatre, with an orchestra backed by Opera Australia. Opera Australia's backing and title on these productions is much about diversifying their portfolio, keeping the economics of Opera Australia afloat, and incentivising more musical production around the country with productions that were likely already had an eye to happen here, but needed an extra investor. They have the resources to make that happen as the country experiences a musical theatre boom.

We don't know what this Sarah Brightman-led production of Sunset is going to be like, but much of me thinks it is going to be more recognisably traditional musical theatre than opera. Australian audiences just don't have as much of an appetite for opera (but there is a healthy enough audience). It will also debut in the Princess Theatre, which by all accounts is on the smaller side. It's where Hal Prince's Phantom made its home for many years and is an intimate experience akin to His Majesty's Theatre in London.

So whether or not it goes anywhere else - Brightman or not - is really going to be in the hands of RUG and other rights holders, just without the additional support of Opera Australia.

At the end of the day, I am personally excited about what the Jamie Lloyd production brings to the table, as well as what possibilities lay with the new Sarah production. My partner travels to Europe in 14 days and will be seeing the Lloyd production (he's a fan of the Wilder film, though never seen nor heard the show at all apart from small snippets from the Nunn/Napier production), and he's equally excited about seeing it yet again next year in a more traditional form back home here. To both, I hope they are memorable and impress on audiences for the extraordinary opportunities and talent they present.

Updated On: 10/13/23 at 05:45 PM

ATG isn’t a producer of Merrily, just the landlord.

Can I assume that Nicole is a bigger star in NYC than London because she is American or is that an oversimplification?

I have been eying Rachel Tucker's first performance on Monday and an empty theatre has suddenly become full. I suspect they decided to paper the hell out of it (every other Monday from then on is almost empty).

Nicole is selling tickets - like "Here We Are" maybe it's not quite at the level that is desired, but there does appear to be some demand.

I mean I’m gay and a 90s baby so to me she’s a big deal. Pussycat Dolls are iconic but never quite took off. Like they never had a major tour or anything so to hear her live and stuff would be really cool but not sure if the general public cares? America’s Got Talent is big but not sure that translates to ticket sales? But if she’s selling in London then I’d imagine she’d sell even more here.

Saw it this week. Incredible stage pictures, the orchestra / orchestrations are soaring and Nicole and the male-lead amazing. LOVED IT!

binau said: "Can I assume that Nicole is a bigger star in NYC than London because she is American or is that an oversimplification?

I have been eying Rachel Tucker's first performance on Monday and an empty theatre has suddenly become full. I suspect they decided to paper the hell out of it (every other Monday from then on is almost empty).

Nicole is selling tickets - like "Here We Are" maybe it's not quite at the level that is desired, but there does appear to be some demand."

I'm not sure Monday's debut for Rachel Tucker has been heavily comped. The top price is significantly lower... her fans and all the excitement and coverage of the opening probably helped move a lot of tickets - within hours this weekends shows were sold out and they've moved a lot of tickets over the last 24-48 hours.

As for Nicole's fame here in the US, that's a good question. In a lot of ways it makes her casting more and more ideal. She was obviously international popular to an audience. For me I have vague familiarity with her. I've heard of the Pussycat dolls (never listened to them at least not intentionally... recognized some of their songs playing in the background but wouldn't have instant recall to it) I knew her more from recording "Memory" and thinking it was the first time I wasn't bored hearing that song performed. So hearing all the descriptions from Jamie Lloyd and Nicole about the production using one of my favorite ALW scores is what has me excited about this production in a way I had never anticipated. If this has the successful run that it sounds like it deserves (in difficult financial environment, not to mention global events that have undermined whatever normalcy that people enjoyed and made trips to the theatre a more regular experience) I could imagine them bringing it here.

I know some speculated next fall, but I would think momentum-wise, they'd want an April opening/limited run; hoping for some Olivier noms/wins, try for some Tony's and end on a high note.

Timon3 said: "Your kidding, I saw both productions and the productions weren’t far apart, however the NYT reviews were, with Matt Wolf giving the London production what read as a 5 star rating where Jesse Green read as a 1 star review.

FWIW I thought both productions were dreadful."

…? the entire broadway production was redesigned and lyrics reworked for what many reviewers who referenced the London production said were for the worse.


Also not hard to understand that two different writers could have two different experiences at a show. Especially when Jesse Green’s name is involved.

Mad props to everyone involved to pull this off every day with the title number.

https://www.tiktok.com/@aglitzyfinale3/video/7290333983739563296?_r=1&_t=8gcCT7KsOWH

Eppy2 said: "Does anyone know if this is extending in London after Jan 6? Literally JUST missing it..."

I don’t think so as there is chatter about moving it to Broadway next year. Don’t take my word for it though. That’s just what I’ve seen people talk about on here.

Great review in NY Post, mentioning Broadway future:

https://nypost.com/2023/10/19/nicole-scherzinger-stars-in-a-seismic-london-sunset-boulevard/